MURILLO 


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THE  WORK  OF 


MURILLO 

REPRODUCED  IN  287  ILLUSTRATIONS 


WITH  A BIOGRAPHICAL  INTRODUCTION 
ABRIDGED  FROM 

AUGUST  L.  MAYER 

ND. 


NEW  YORK 

/ 

BRENTANO’S 

MCMXXI 


Printed  in  Wurtemberg 


THE  J PAUl  GETTY  MUSEUM 

library 


MURILLO 


HIS  LIFE  AND  WORK 

The  eastern  part  of  Spain — the  warlike  Catalonia  and  the  fer- 
tile Valencia — have  always  been  rich  in  the  talent,  but  never  in  the 
genius,  of  art.  Still  less  seldom  has  the  central  or  mountainous  re- 
gion produced  any  painter  of  note.  If  we  are  to  look  for  the  flower 
of  the  great  Spanish  masters  in  art,  we  shall  find  them  in  the  sunny 
south,  in  bright  and  happy  Andalusia.  And  if  we  are  seeking  for 
one  in  whom,  more  than  in  any  other,  this  Andalusian  spirit  is  em- 
bodied, we  shall  find  him  in  Murillo. 

Both  on  his  father’s  and  his  mother’s  side,  Bartolome  Esteban 
Murillo  came  from  a family  long  settled  in  Andalusia.  We  are  igno- 
rant of  the  exact  date  of  his  birth,  but  we  know  that  he  was  baptized  on 
Monday,  January  i,  1 6 1 8,  in  the  Church  of  St.  Magdalena,  in  Seville, 
as  the  son  of  Caspar  Esteban  Murillo  and  Maria  Perez.  Murillo’s 
father  died,  probably  in  1627,  and  his  mother  on  January  8,  1628; 
so  that  already  at  the  age  of  ten  Murillo  was  an  orphan.  His  guar- 
dian, the  surgeon  Juan  Augustin  Lazares,  married  to  Anna  Murillo, 
took  the  boy  under  his  care,  and,  because  of  his  aptitude  for  draw- 
ing, sent  him  to  study  with  Juan  del  Castillo.  This  artist,  though 
he  came  from  a high,  artistic  Sevillian  family,  was  a painter  of  small 
atta'  unents.  Still,  he  was  a good  teacher,  accomplished  in  draughts- 
manship and  composition  and,  as  his  religious  paintings  show,  a 
genuine  Sevillian  in  his  lively  and  graceful  expression.  He  be- 
longed to  that  company  of  later  Spanish  romanticists  who  imitated 
the  great  Italian  masters,  and  who,  without  ever  having  been  in 
Italy,  copied  their  works  from  etchings  and  engravings.  In  this 
respect,  Castillo  was  a follower  of  his  contemporary,  Juan  de  Ruelas, 
who  must  be  considered  as  the  founder  of  the  national  Sevillian  art 
of  the  seventeenth  century.  It  is  evident,  from  the  earliest  extant 
works  by  Murillo,  that  the  young  artist,  like  many  of  his  contem- 
poraries, had  been  an  earnest  student  of  the  paintings  by  Ruelas; 

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more  especially  during  the  years  following  1639,  when  Castillo  had 
left  Seville  to  take  up  his  residence  in  Cadiz. 

Without  his  parents  to  help  him,  and  without  the  sympathetic 
teaching  and  companionship  of  his  master,  Murillo,  in  1639,  was 
thrown  on  his  own  resources.  He  was  very  poor,  practically  penni- 
less, and  could  not,  however  much  he  may  have  desired  it,  afford 
the  expense  of  attending  the  School  of  Zurbaran,  the  chief  painter  of 
his  native  town.  He  turned,  therefore,  for  a living  to  the  making  of 
pictures  for  selling  at  the  “ ferria  ” or  public  fairs  in  Seville.  These 
fairs  were  a market  for  everything  that  was  cheap  and  shoddy,  more 
especially  for  daubs  by  street  painters  who  here  readily  disposed,  for 
very  small  sums,  of  their  wretched  pictures  of  saints  and  Madonnas 
which  were  sent  to  South  America  and  Mexico  to  be  bought  there 
by  the  new  converts  to  Christianity.  Murillo  offered  his  wares  with 
the  rest,  and  managed  in  this  way  to  make  a scant  livelihood.  In 
1642,  however,  moved  by  the  improvement  he  had  seen  in  the  work 
of  a brother-artist,  Pedro  de  Moya,  who  had  returned  from  a visit  to 
the  Netherlands,  Murillo  made  up  his  mind  to  do  likewise,  and  to  go 
to  Flanders  or  Italy  for  further  study.  With  this  purpose  in  mind, 
he  purchased  a quantity  of  canvas,  cut  it  up  into  pieces  of  various 
sizes,  and  covered  them  with  paintings.  Armed  with  these  he  went 
to  the  various  dealers  and  disposed  of  them  for  such  sums  as  he  could 
obtain.  In  this  manner  he  collected  what  he  thought  would  be 
enough  money  to  enable  him  to  make  his  journey.  He  set  out  for 
Madrid  on  foot,  and  called  on  his  fellow-townsman,  Velasquez,  then 
in  the  height  of  his  fame,  to  beg  from  him  some  letters  of  introduction 
to  artists  in  Rome. 

Velasquez  became  greatly  interested  in  the  young  aspirant,  took 
him  into  his  house  and  obtained  for  him  permission  to  work  in  the 
galleries  of  the  Spanish  capital.  Murillo  eagerly  availed  himself 
of  this  privilege,  and  very  quickly  realized  the  value  of  it  to  him. 
He  studied  the  works  of  Titian,  Rubens  and  Van  Dyck  with  all  the 
passion  of  youthful  enthusiasm,  and  it  is  to  this  study,  no  doubt,  that 
Murillo  owes  the  cultivation  of  his  sense  for  color  in  plastic  expres- 
sion, The  influence  of  these  great  masters  is  very  evident  in  many 
of  his  paintings.  But  the  artist  who  made  the  strongest  impression 
on  the  young  student  was  Ribera,  and  the  influence  of  this  Spanish 
master  is  even  more  marked  in  the  best  work  Murillo  himself 
achieved.  He  remained  in  Madrid,  copying  the  paintings  of  Ri- 
bera, Velasquez  and  Van  Dyck,  for  two  years.  The  outcome  of  these 
drudging,  apprenticeship  days,  may  be  seen  in  the  first  large 

6 


com- 


positions  of  his  own  which  he  executed  for  the  little  monastery  of 
St.  Francis,  on  his  return  to  Seville  in  1645  and  1646.  The  eleven 
canvases,  depicting  the  legends  of  St.  Francis,  were  so  carefully 
treasured  by  the  monks  of  the  place  that  they  were  shown  only  on 
festival  days,  and  then  from  between  hanging  draperies.  These 
paintings  are  all  now  scattered  in  the  public  and  private  galleries 
of  Europe  and  America.  The  first  of  these  paintings  to  be  com- 
pleted was,  probably,  “ The  Vision  of  St.  Francis,”  now  in  the  Acad- 
emy of  Madrid.  The  “ Angel-Kitchen,”  in  the  Louvre,  which  testi- 
fies both  to  Murillo’s  power  for  narrative  and  his  dexterity  as  a 
painter  of  “ still  life,”  was  strongly  influenced  by  the  work  of  Rue- 
las.  The  famous  representations  of  the  lives  of  the  holy  monks — 
“ St.  Gil  before  Pope  Gregory  IX  ” and  “ St.  Diego  before  the 
Crucifix” — are  closely  related  to  the  style  and  manner  of  Zurbaran. 
But  of  all  these  paintings  the  most  interesting  and  also  the  most  per- 
sonal is  the  “ St.  Diego  feeding  the  Poor.”  Murillo  never  surpassed 
the  healthy  freshness  and  the  fine,  natural  humor  of  the  saint  who 
is  here  shown  as  receiving  the  thanks  of  the  poor  people  for  his 
charity.  Three  other  paintings  belong  to  this  series:  “The  Monk 
robbed  by  a Brigand”  (in  the  possession  of  M.  Ch.  Baudet  in  Le 
Havre),  “ The  Return  of  St.  Philip  ” (sold  in  1867  at  the  Soult  Sale 
to  a M.  de  Guitant),  and  “The  Exorcising  of  the  Plague”  (in  the 
possession  of  Duke  di  Pozzo  di  Borgo,  in  Paris).  Of  these  we  are 
unable,  unfortunately,  to  give  reproductions  in  this  volume. 

The  monks  of  the  monastery  of  St.  Francis,  when  they  com- 
missioned Murillo  to  decorate  the  walls  of  their  cloister,  chose  him 
out  of  their  necessity.  They  were  a poor  brotherhood  and  could  not 
afford  to  employ  the  better-known  masters  of  the  day.  Alurillo 
also  was  poor,  and  when  he  offered  his  services,  there  is  no  doubt 
he  was  ready  and  even  eagerly  willing  to  accept  any  compensation, 
provided  an  opportunity  was  given  him  to  make  a bid  for  fame. 
What  the  money  reward  was  we  can  guess,  but  the  fame  was  more 
than  Murillo  could  possibly  have  anticipated.  From  that  time  on 
the  rich  of  Seville  were  lavish  in  their  patronage  as  well  as  their 
praise;  and  the  beginning  of  Murillo’s  great  popularity  really  dates 
from  the  time  of  the  completion  of  these  eleven  paintings  for  the  lit- 
tle Franciscan  monastery.  In  May,  1646,  Murillo  married  Dona 
Beatriz  de  Cabrera  y Sotomayer,  who,  in  1648,  bore  him  a daughter, 
Isabel  Francesca,  who  later  entered  the  Dominican  Convent  of  the 
Holy  Mother.  At  the  baptism  of  his  eldest  son,  Gabriel  Esteban, 
the  distinguished  Sevillian  and  famous  knight  of  Calatrava,  Don 

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Miguel  de  Mahara,  stood  as  godfather.  In  years  to  come,  this  Don 
Miguel  was  one  of  Murillo’s  most  munificent  patrons.  In  1 66 1 was 
born  Murillo’s  second  son,  Gaspar  Esteban,  who  later  emigrated 
to  America  and  died  there. 

Between  1650  and  1660  Murillo  executed  several  of  his  master- 
pieces which  evince  his  genius  as  a colorist,  and  display  his  accom- 
plished ability  in  composition.  Among  these  are  to  be  specially 
noted  the  “ St.  Isidor  ” and  the  “ St.  Leander,”  a commission  from 
the  Archdeacon  of  Carmona,  Don  Juan  Federigui,  for  the  Cathedral 
of  Seville,  where  they  still  hang.  “The  Nativity  of  the  Virgin,” 
also  painted  during  this  period  for  the  Chapter  of  the  Cathedral, 
is  considered  to  be  one  of  the  most  pleasing  examples  of  Murillo’s 
so-called  “warm”  style.  In  March,  1656,  the  authorities  of  the 
Chapter  of  the  Cathedral  gave  out  that  they  desired  a great  altar- 
piece  for  the  Chapel  of  St.  Anthony,  to  be  painted  by  “ the  best  artist 
of  the  city.”  There  was  but  one  man  who  could  lay  claim  to  such  a 
title,  and  that  man  was  Murillo.  He  was  given  the  order  by  general 
consent,  and  on  the  21st  of  November  of  the  same  year  his  gigantic 
canvas  was  hung.  For  this  tremendous  work  Murillo  received  the 
sum  of  10,000  reals,  about  $520.  It  is  one  of  his  most  widely  known 
paintings,  and  may  still  be  seen  in  the  Baptistry  of  the  Cathedral 
of  Seville. 

Murillo,  at  this  time,  interested  himself  keenly  in  founding  an 
Academy  of  Arts  for  his  native  town.  He  succeeded  in  his  efforts, 
and  the  institution  was  opened  in  1660.  Murillo’s  great  reputation 
and  wide  popularity  assured  him  of  the  presidency  of  the  organ- 
ization; but  he  held  the  office  for  one  year  only.  Owing  to  the  jeal- 
ousy and  malevolence  of  his  rival,  Valdes  Leal,  he  withdrew  his 
name  for  re-election.  But  this  did  not  prevent  him  from  continuing 
to  give  the  school  the  benefit  of  his  counsel  and  instruction. 

In  1665  Murillo  undertook  to  complete  a series  of  paintings 
designed  by  his  friend  and  patron,  Canon  Don  justino  de  Neve,  for 
the  decoration  of  the  Church  of  S.  Maria  la  Blanca,  the  building 
of  which  had  been  finished  in  1659.  The  fourth  of  these  paintings, 
an  allegory  of  youth,  is  now  in  the  possession  of  Mr.  Lyne  Stephens, 
of  Lynford  Hall,  Norfolk,  England.  All  these  works  are  among 
the  artist’s  happiest  and  most  impressive  creations.  The  two  which 
tell  the  history  of  the  Festival  of  Our  Lady  of  the  Snow,  are  now 
in  Madrid,  but  they  found  their  way  there  only  after  many  vicissi- 
tudes of  fortune.  Marshal  Soult,  who  carried  away  with  him  the 
paintings  in  the  little  monastery  of  St.  Francis,  robbed  the  Church 


of  S.  Maria  la  Blanca  of  its  treasures  also.  “ The  Virgin  of  the 
Conception,”  another  of  this  series,  is  now  in  the  Louvre. 

The  years  1667  and  1668  were  the  most  industrious  years  of 
Murillo’s  life,  so  far  as  his  work  for  the  Cathedral  of  Seville  was 
concerned.  He  restored  the  allegorical  paintings  which  Pablo  de 
Cespedo  of  Cordova  had  some  eighty  years  before  executed.  He 
decorated  the  Chapter  Hall  with  a distinguished  “Conception”  and 
with  medallion  portraits  of  the  patron  Saints  Leander,  Isidor,  Her- 
mengild,  Pius,  Laureanus,  Ferdinand,  Justa  and  Rufina.  At  this 
time,  also,  he  painted  the  “ Baptism  of  Christ,”  which  is  to  be  seen 
over  his  famous  great  St.  Anthony  painting  in  the  Baptistry  of  the 
Cathedral.  With  Juan  de  Valdes  Leal  he  was  employed  on  the  dec- 
oration of  the  Cathedral,  in  1671,  for  the  occasion  of  the  canoniza- 
tion of  the  saintly  King  Ferdinand  III.  For  this  same  occasion  he 
painted  the  portrait  of  the  King,  which  is  now  in  the  Elkins  Col- 
lection in  New  York. 

On  April  12,  1665,  Murillo’s  name  had  been  before  the  Chapter 
as  a candidate  for  membership  in  the  most  select  and  distinguished 
Brotherhood  of  Seville,  the  Hermandad  de  la  Caridad.  He  was 
elected  on  June  4,  in  the  same  year.  Of  this  pious  Brotherhood  or 
Guild,  Don  Miguel  de  Manara,  the  knight  who  had  stood  godfather 
to  the  artist’s  eldest  son,  was  also  a member.  This  noble  gentleman 
had,  in  1661,  retired  from  the  world  to  give  himself  up  to  a life  of 
holiness  and  charity,  by  way  of  atonement  for  his  previous  life  of 
profligacy.  Don  Miguel  determined  to  restore  the  buildings  of  the 
Hospital  or  Hermandad  de  la  Caridad,  and,  with  this  purpose  in 
view,  he  went  about  collecting  funds.  He  succeeded  in  obtaining 
sufficient  money  to  warrant  him  in  giving  Murillo  the  commission 
for  painting  eleven  pictures  for  the  decoration  of  the  Chapel  of  the 
Brotherhood.  On  this  commission  the  artist  worked  industriously 
during  the  years  between  1671  and  1674.  These  eleven  paintings 
are  among  the  best-known  of  Murillo’s  works.  For  this  great  labor 
Murillo  received  the  sum  of  $4,000 — a large  amount  of  money  when 
compared  with  the  $520  he  had  been  paid  for  the  St.  Francis  paint- 
ings. The  series  picture  scenes  from  the  Old  and  New  Testaments, 
with  the  intent  of  furnishing  special  examples  of  deeds  of  charity  and 
beneficence.  Eight  of  these  eleven  are  now  considered  to  be  the 
masterpieces  of  Murillo.  These  are:  “Moses  Striking  the  Rock,” 
the  “ Miracle  of  the  Loaves  and  Fishes,”  both  of  which  are  still 
in  the  church;  the  “St.  Peter  released  from  Prison,”  which  is  in 
the  Hermitage  at  St.  Petersburg;  the  “ Healing  of  the  Sick,”  now 

9 


in  the  Orwell  Park  Collection,  England;  “ St.  Elizabeth  of  Hun- 
gary,” in  the  Prado;  “The  Return  of  the  Prodigal  Son,”  in  Staf- 
ford House,  Eondon ; and  the  “ Tobias,”  which  is  now  lost.  The 
other  three,  namely,  the  “ Annunciation,”  “ Infant  Jesus  ” and  “ In- 
fant fohn  ” hang  over  the  altars  of  the  church.  Murillo  also  deco- 
rated the  facade  of  the  Hospital  with  five  large  tiles  which  were  made 
from  designs  furnished  by  him. 

Murillo  had  no  sooner  finished  the  work  for  the  Hospital  de  la 
Caridad,  than  he  accepted  a still  more  important  commission.  This 
was  for  the  execution  of  eighteen  paintings  for  the  High  Altar  of 
the  Church  and  the  smaller  altars  of  the  Chapels  of  the  Convent 
of  the  Capuchins.  Most  of  these  to-day  decorate  the  walls  of  the 
Museum  of  Seville.  The  great  altar-piece  is  now  in  the  Walraff- 
Richartz  Museum  in  Cologne.  The  “ St.  Michael  ” is  lost,  but  there 
exists  a copy  of  it  in  the  monastery  of  the  Capuchins  in  Cadiz,  from 
the  hand  of  Meneses  Osorio,  which  gives  a good  idea  of  the  original. 
The  painting  known  as  the  “ Charity  of  St.  Thomas  of  Villanueva  ” 
is  said  to  be  the  one  for  which  Murillo  had  a special  affection — he 
called  it  “ his  own.”  The  little  painting  known  as  the  “ Virgin  of  the 
Napkin,”  is  believed  to  have  been  painted  on  a serviette  and  pre- 
sented to  the  cook  of  the  Capuchinian  Convent  by  Murillo  as  a me- 
morial of  himself.  It  is  a charming  work. 

These  were  the  most  prolific  years  of  the  artist’s  remarkable 
life  and  career.  His  aboundingly  rich  fancy  and  creative  genius 
seemed  as  if  they  grew  in  fecundity  and  power  with  the  increase  in 
the  demands  made  on  them.  When  the  end  did  come,  it  came  sud- 
denly and  quite  unexpectedly  and  fortuitously.  To  the  year  1678 
belong  the  series  of  paintings  Murillo  executed  for  the  Augustinian 
Monastery  of  the  Hospital  of  the  Brotherhood  of  the  Venerable 
Eloly  Ones.  Among  these  is  the  famous  “ Mystery  of  the  Immacu- 
late Conception,”  known  as  the  “ Soult  Conception,”  and  now  in  the 
Louvre.  He  also  undertook  a great  altar-piece  for  the  Capuchin 
Church  of  Cadiz.  It  was  while  engaged  on  the  painting  of  the 
“ Espousal  of  St.  Catherine  ” for  this  church  that  Murillo  slipped 
from  the  scaffolding  and  fell,  injuring  himself  so  severely  that  he 
never  recovered  from  the  accident.  He  died  at  five  o’clock  of  the 
evening  of  the  third  of  April,  1682,  in  the  arms  of  his  friend  and 
pupil,  the  Chevalier  Padro  Nunez  de  Villavicencio.  His  body  was 
placed  on  the  following  day  in  the  chapel  of  the  Church  of  S.  Cruz, 
which  belonged  to  the  family  of  Hernando  de  Jaen.  Over  the  altar 
in  this  chapel  hung  at  that  time  the  “ Crucifixion  ” by  Pedro  de 

10 


Campana,  a work  for  which  Murillo  had  always  shown  a profound 
admiration.  It  is  related  that  he  was  once  found  standing  before 
this  painting  in  silent  and  reverent  contemplation.  When  he  was 
asked  what  he  was  doing  he  answered:  “ I am  waiting  until  the  saints 
have  brought  down  the  body  of  our  Lord.” 

Murillo  was  a Sevillano  of  Sevillanos.  He  was  that  in  the  whole 
outlook  of  his  mind,  and  in  his  religious  sentiments,  as  both  these  are 
seen  expressed  in  the  forms  of  his  art.  In  Seville,  more  than  in  any 
other  part  of  Andalusia,  the  people  crowd  and  jostle  each  other  in  dra- 
matic play.  It  is  this  drama  of  the  common  folk  which  is  to  be  seen 
in  Murillo’s  works.  His  paintings  picture  the  natural  gaiety  of  the 
natives  and  their  delight  in  mere  living.  They  reveal  the  sweet  kind- 
ness and  liveliness  of  their  character,  and  give  it  a truly  lyrical  ex- 
pression. Murillo’s  own  nature  was  of  this  quality,  and  it  is  revealed 
to  us  not  only  in  his  genre  paintings,  but  in  his  masterpieces  of  re- 
ligious sentiment  which  but  seldom  portray  the  suffering  of  the  Sa- 
viour. The  subjects  most  dear  to  Murillo  are  those  which  tell  of 
the  joy  of  parents  in  the  family  life,  the  motherly  love  of  the  Ma- 
donna, the  sweet  charity  of  the  bread-giving  St.  Thomas  of  Villa- 
nueva, the  heavenly  mildness  and  pious  faith  of  the  “ Christ  on  the 
Cross,”  where  St.  Francis  is  seen  embracing  the  Crucifix  and  ac- 
cepting it  as  his  most  precious  possession.  Here,  in  these  appealing 
works,  we  find  Murillo  the  lover  of  humanity.  In  his  visions  of  the 
Saints  and  in  his  many  “ Conceptions  ” we  meet  with  Murillo,  the 
knight  and  the  man  of  chivalry,  who  has  here  embodied  the  noblest 
reaches  of  his  mind  as  an  expression  of  his  homage  to  woman.  This 
man’s  religion  was  not  composed  of  dogmas  or  doctrines.  This  artist 
is  no  theologian.  He  is  simply  a man  of  loving-kindness,  for  whom 
religion  is  the  expression  of  his  own  pious  and  beneficent  spirit.  In 
every  one  of  his  works  Murillo,  the  Sevillano,  is  giving  expression 
to  himself.  His  Madonnas,  his  Child  Christ,  his  saints,  were  taken 
direct  from  the  people  of  his  native  city.  He  met  them  in  his  walks 
along  the  shadow-painted  streets  and  in  the  sunny  squares.  He  knew 
them  and  took  them  to  be  as  good  and  as  kind  as  he  was  himself. 
The  Madonna  in  the  Corsini  Gallery  at  Rome,  known  as  the  “ Gipsy 
Ma  donna”;  “The  Ascension”  and  “ Conception”  in  the  Hermit- 
age at  St.  Petersburg,  the  “ Conception  ” in  the  Chapter  Hall  of  the 
Cathedral  at  Seville,  the  delicate  types  of  the  old  mendicant  monks 
in  his  portraits  of  St.  Francis  of  Paula  and  St.  Felix  of  Cantalico, 
all  the  men  and  women  of  these  paintings  might  he  seen  any  day  in 
Murillo’s  time,  and  even  any  day  in  our  own  time,  walking  the  streets 


of  Seville.  It  is  this  that  is  so  appealing  and  drawing  in  Murillo’s 
art. 

Murillo’s  paintings  have  been  classified,  according  to  their 
styles,  into  the  cold,  the  warm,  and  the  misty  or  vapory.  Each  of 
these  styles  probably  represents  a period  of  development  in  the  art- 
ist’s growth;  but  all  his  paintings  are  more  or  less  characterized 
by  one  or  a combination  of  all  of  these  styles.  All  evince  a masterly 
accomplishment  in  technique  and  a remarkable  ability  in  composi- 
tion— especially  in  the  composition  of  groups  of  figures.  His  sub- 
jects are  either  taken  from  real  life  or  he  found  the  material  in  the 
Bible.  The  realism  of  his  scenes  from  life,  while  they  are  filled  with 
a natural  atmosphere,  are  yet  devoid  of  a profound  spiritual  appre- 
ciation of  the  life  depicted.  It  is  a superficial  relationship  that  is 
expressed  in  them.  And  this  limitation  is  also  evident  in  his  religious 
paintings  where  the  idealism  embodied  is  of  a commonplace  char- 
acter and  often  degraded  by  a cheap  sentiment.  Yet  both  idealism 
and  sentiment  are  almost  always  raised  in  our  appreciation  by  a lyr- 
ical quality  which  is  delightful  and  charming.  Here  are  the  qualities 
which  account  for  Murillo’s  popularity.  He  appeals  immediately, 
without  the  necessity  for  an  interpreter.  His  art  evinces  no  mystery, 
no  strangeness,  no  untowardness.  The  artist  has  had  no  visions,  and 
has  no  revelations  to  make.  He  has  tales  to  tell,  and  as  a teller  of 
tales  he  has  few,  if  any,  to  equal  him  in  these  his  almost  ravishing 
stories. 

It  is  well  to  remember  that  Murillo  came  of  ordinary  stock — - 
his  parents  were  poor  working  people  close  to  the  hard  and  harsh 
conditions  of  life.  He  himself  had  known  poverty  and  grinding 
want  and,  fortunately  both  for  the  man  and  his  art,  had  never  waxed 
fat  enough  with  wealth  to  kick — Providence  and  fortune  remained 
always  deities  to  be  revered.  To  such  a man  the  highest  reaches  of 
the  imagination  take  forms  such  as  are  pleasing,  comforting  and 
kindly.  The  opposite  of  an  ugly  and  hard  world  is  a beautiful 
heaven  where  compassionate  and  beneficent  saints  solicit  God’s  grace 
on  behalf  of  the  poor  and  distressed.  The  world  is  cruel,  unkind 
and  filled  with  the  misery  of  poverty.  Murillo’s  paintings  in  the 
Dulwich  Gallery  realize  how  keenly  the  artist  felt  this.  The  scenes 
of  low  life  there  pictured  are  redolent  of  nothing  but  sordid  wretch- 
edness and  squalor.  But  over  against  this  kind  of  a world  is  the 
heaven  of  which  religion  speaks  to  us.  Right  to  the  other  extreme, 
then,  swings  the  pendulum  of  the  artist’s  temper,  and  here  he  sees 
everything  that  is  lovely,  charming,  delight-giving  and  radiant  with 

12 


sensuous  beauty.  Here  also  he  shows  us  the  deeply  religious  nature 
of  the  man  for  whom  his  faith  in  Catholicism  was  an  abiding  com- 
fort and  stay. 

Murillo  was  not  only  a painter  by  profession,  but  he  was  also 
a painter  by  conviction.  His  art  was  to  him  almost  a religion.  He 
fully  understood  its  value  as  a means  of  speech  to  the  people,  and  its 
influence  as  an  inspiring  voice.  It  was  this  that  urged  him  so  enthu- 
siastically to  found  the  Academy  where  poor  artists  could  be  taught 
without  charge.  He  himself  taught  in  it  and  took  no  remuneration 
for  his  services;  and  it  was  his  enthusiasm  which  kept  the  institution 
alive,  for  it  died  with  his  death. 

With  all  his  shortcomings,  Murillo  was  a great  plastic  artist — - 
one  among  the  greatest.  As  a colorist  he  has  had  few  equals.  If, 
at  times,  his  works  smack  of  insipidity  and  sentimentality,  at  times 
more  often,  they  breathe  a spirit  that  is  tenderly  touching  with,  occa- 
sionally, a strength  that  is  almost  stunning.  It  is  scarcely  to  be  won- 
dered at  that  his  paintings  should  have  appealed  so  deeply  to  his  own 
people;  for  they  speak  a language  all  could  understand.  Nor  need 
we  be  surprised  that  the  people  of  Spain  should  esteem  them  so  high- 
ly as  to  treasure  them  as  though  they  were  sacred  relics. 


13 


ABBREVIATIONS  AND  EXPLANATIONS 

H.=  Height 
B.  = Width 

Auf  HoLz  = on  wood 
Auf  Leinwand  = on  canvas 
Auf  ScHiEFER  = on  slate 


The  figures  giving  the  sizes  of  the  paintings  stand  for  metres 


MURILLO 


I. 

RELIGIOSE  GEMALDE 

RELIGIOUS  PAINTINGS  TABLEAUX  RELIGIEUX 


Murillo  1 


i:  Cambridge,  Fitzwilliam-Museum  Auf  Leinvvand 

Fray  Lauterio  vor  der  Madonna,  St.  Franziskus  und  St.  Dominikus 

Fray  Lauterio  before  the  Madonna,  Vor  1642  Fray  Lauterio  devant  la  Madone, 

St.  Francis  and  St.  Dominic  Saint  Francois  et  Saint  Dominique 


3 


* Sevilla,  Museum 


Madonna  of  the  Mercenarios 


Die  Mercenarier-Madonna 

Um  1641 


Auf  Leinwand,  H.  1,66,  B.  1,07 


Madone  des  Mercenaires 


4 


Miinchen,  Galerie  Heinemann 


The  Holy  Family 


Die  Heilige  Familie 

Vor  1642 


,a  Sainte  Familie 


5 


Genua,  Palazzo  Bianco 

Vision  of  St.  Francis 


Vision 


Auf  Leinwand 


des  heiligen 

Um  1645 


Franziskus 

Vision  de  Saint  Francois 


6 


* Madrid,  Akodemie  Auf  Leinwand,  H.  1,70,  B.  1,86 

Vision  des  heiligen  Franziskus  von  Assisi 

Vision  of  St.  Francis  of  Assisi  1645  Vision  de  Saint  Francois  d'Assise 


7 


Madrid,  Akademie  , . „ . 

Auf  Leinwand 

Die  Armenspeisung  des  heiligen  Diego  von  Alcala 

St.  Diego  feeds  the  Poor  1645  Saint  Diego  d'Alcala  distribuant  des  Aumones 


*Friiher:  Philip  W.  S.  Miles,  Kings  Weston,  Gloucestershire  Auf  Leinwand 

St.  Gil  vor  Gregor  IX. 

St.  Gil  before  Pope  Gregory  IX.  1645—1646  Saint  Gil  devant  Gregoire  IX 


Toulouse,  Museum  Auf  Leinwand,  H.  1,69,  B.  1,81 

Der  heilige  Diego  von  Alcala  vom  Kardinalbiscliof  von  Pamplona 
in  Ekstase  angetroffen 

St.  Diego  of  Alcala  and  the  Saint  Diego  d'Alcala  ravi  en  extase  devant 

Cardinal-Bishop  of  Pamplona  1646  le  Cardinal-Eveque  de  Pampelniie 


London,  M.  Ford 


Two  Monks 


Zwei  Monche 


Auf  Leinwand 


Deux  Moines 


10 


Auf  Leinwand 


* New  York,  Charles  B.  Curtis 


Das  Rosenwunder  des 
The  Miracle  of  Roses  of 
St.  Diego  of  Alcala 


heiligen  Diego  von  Alcala 
1646  Le  Miracle  des  Roses  de  Saint 
Diego  d’Alcala 


12 


The  „ Angel-Kitchen"  of  St.  Diego  of  Alcala  1646  La  .Cuisine  des  Anges"  de  Saint  Diego  d’Alcala 


13 


Der  Heimgang  der  heiligen  Klara 

The  Death  of  St.  Claire  1645—1646  La  Mort  de  Sainte  Claire 


Genua,  Palazzo  Bianco 

Auf  Leinwand 

The  Flight  to  Egypt 

Die  Flucht  nach  Agypten 
1648 

La  Fuite  en  Egypte 

14 


Genua,  Palazzo  Bianco 

Auf  Leimvand 

Die  Flucht  nach  Agypten 

The  Flight  to  Egypt 

(Ausschnitt) 

La  Fuite  en  Egypte 

(Detail) 

1648 

(Detail) 

15 


16 


Madrid,  Prado  Auf  Leinwand,  H. 

Die  Heilige  Familie  mit  dem  Voglein 

The  Holy  Family  with  the  Bird  1645—1650  La  Sainte  Familie  h l’Oiseau 


Sevilla,  Museum  Auf  I.eiriwand,  H.  2,18,  B.  1,55 

Der  heilige  Pedro  Nolasco  vor  der  Virgen  de  la  Merced 
St. Pedro  Nolasco  belore  the  Virgen  de  la  Merced  Ura  1648—1656  St.  Pedro  Nolasco  devant  la  Virgen  de  la  Merced 


Murillo  2 


17 


Raby  Castle,  Lord  Barnard 

Auf  Leinwand 

St.  Agnes 

Heilige  Agnes 

1645—1650 

Sainte  Agnes 

18 


London,  Herzog  von  Wellington 

Die  heilige  Katharina 

Auf  Leinwand 

St.  Catherine 

1646—1660 

Sainte  Catherine 

19 


Dresden,  Gemiildegalerie 

St.  Rodriguez 


Der  heilige  Rodriguez 

1646—1655 


Auf  Leinwand,  H.  2,05,  B.  1,23 


Saint  Rodrigue 


20 


21 


Die  Verkiindigung 

The  Annunciation  1648—1655  L'Annonciation 


22 


Madrid,  Prado  Auf  Lein 

Die  Anbetung  der  Hirten 

The  Adoration  of  the  Shepherds  1645-1660  L’Adoration  des  Bergers 


23 


Berlin,  Kaiser-Friedrich-Museum  Auf  Leinw 

Die  Anbetung  der  Hirten 

The  Adoration  of  the  Shepherds  1650-1660  L’Adoration  des  Bergers 


Miinchen,  Galerie  Heinemann 


Auf  Leinwand,  H.  1,73,  B.  1,22 


Madonna  of  Mount 


Die  Madonna  vom  Berge  Karmel 
Carmel  Um  1646—1648  Madone  du  Mont  Carmel 


24 


Auf  Leiinvand,  H.  1,66,  B.  1,25 

Vierge  au  Rosaire 


Paris,  Louvre 

Rosenkranzmadonna 

Madonna  of  the  Rosary  Uni  1645-1650 


25 


London,  Sir  William  Eden 


Madonna  with  the  Apple 


Die  Madonna  mit  dem  Apfel 

(La  Virgen  de  la  Manzana) 
1646—1655 


Auf  Lein  wan 


Madone  a la  Pomme 


26 


27 


' Fruher  Galerie  Aguado  Auf  Leinwand,  H.  1,11,  B.  0,86  *Wlndlestone  Hall,  Sir  W.  Eden  Auf  Leinwand 

Madonna  mit  dem  Apfel  Die  Madonna  mit  dem  Rosenkranz  der  beschuhten  Karmeliter 

Madonna  1650—1660  Madone  Madonna  of  the  Rosary  1645—1650  Vierge  au  Rosaire 

with  the  Apple  a la  Pomme  of  the  Carmen  Calzado  des  Carmes 


Florenz,  Palazzo  Pitti 


Madonna  of  the  Rosary 


Rosenkranzmadonna 

Um  1650 


Auf  Leinwand,  H.  1,65,  B.  1,09 

Vierge  au  Rosaire 


28 


Madrid,  Prado 


Die  Rosenkranzmadonna  aus  deni  Eskorial 

The  Madonna  of  the  Rosary  from  the  F.scorial  1650—1660  Vierge  an  Rosaire  de  I'F.scurial 


29 


Madrid,  Prado 


Auf  Leinwand,  H.  1,51,  B.  1,03 


Madonna  mit  sitzendem  Christkind 


Madonna  with  the  Infant  sitting 


1655—1665 


La  Vierge  et  l’Enfant 


30 


London,  Gaston  Linden 

MaUr  Dolorosa 

Mother  of  Sorrow  1(65 — 1672 


Auf  Lei  invalid 


La  Vierge  ties  Douleurs 


31 


Florenz,  Palazzo  Pitti  Auf  Leinwand,  H.  1,55,  B.  1,05 

Madonna  mit  stehendem  Christkind 

The  Virgin  with  the  Infant  Christ  standing  1650—1660  La  Vierge  et  l’Enfant  debout 


32 


* Budapest,  M.  von  Nemes 


The  Kinnaird  Madonna 


Die  Madonna  Kinnaird 

1650—1660 


Auf  Leimvand,  II.  1,69,  B.  1,10 


Madone  Kinnaird 


Murillo  3 


33 


* Haag,  Mauritshuis 


Madonna  in  (he  Clouds 


Auf  Leinwand,  H.  1,90,  B.  1,37 

Madonna  in  den  Wolken 

1655—1660  La  Vierge  et  l’Enfant  sur  les  Nues 


34 


Madrid,  Prado 


Auf  Leinwand,  H.  1,3-1,  B.  1,07 


Saint  James  the  Greater 


Der  Apostel  Jacobus  major 

1650-1660 


Saint  Jacques  Apotre 


35 


* Madrid,  Prado 

Die  reuige  Magdalena 

St.  Mary  Magdalen  1650—1665 


Auf  Leinwand,  H.  1,25,  B.  1,06 


Marie-Madeleine 


36 


Auf  Leinwand,  H.  1,88,  B.  1,60 

Der  lieilige  Leander 

1655  Saint  Leandre 


* Sevilla,  Kathedrale:  Hauptsakristei 

St.  Leander 


37 


Sevilla,  Kathedrale:  Hauptsakristei 

Auf  Leinwand, 

St.  Isidor 

Der  heilige  Isidor 
1655 

Saint  Isidore 

38 


39 


Die  Geburt  Maria 

The  Birth  of  the  Virgin  1655  La  Naissance  de  la  Vierge 


Sevilla,  Kathedrale:  Taufkapelle 


Auf  Leinwand,' H.  5,50,  B.  3,30 


Die  Vision  des  heiligen  Antonius 


The  Vision  of  St.  Anthony 


1656 


La  Vision  de  Saint  Antoine 


40 


Madrid,  Akademie 

Auf  Leinwa 

Resurrection  of  Christ 

Auferstehung  Christi 

1650—1660 

Resurrection 

41 


Liitzschena,  Sammlung  Speck  von  Sternburg 


The  Annunciation 


Auf  Leinwand 


Die  Verktindigung 


L'Annonciation 


42 


43 


St.  Petersburg,  Ermitage 

Auf  Leinwand,  H.  1,38,  B.  1,11 

The  Annunciation 

Die  Verkundigung 

1655—1665 

L'Annonciation 

44 


Madrid,  Prado 

Auf  Leimvand,  H. 

Die  Verkiindigung 

The  Annunciation 

1655 — 1665 

L’Annonciation 

45 


Amsterdam,  Museum 


Auf  Leimvand,  H.  0,96,  B.  0,99 


The  Annunciation 


Die  Verkiindigung 

1668—1675 


L'Annonciation 


46 


47 


New  York,  L.  Ehrich  Galleries 


48 


Die  Anbetung  der  Hirten 

The  Adoration  of  the  Shepherds  1665—1670  L Adoration  des  Bergers 


Murillo  4 


49 


London,  Earl  of  Northbrook  Auf  Leinwand 

Das  Christkind  (aus  einer  Anbetung  der  Hirten) 

Infant  Christ  (Fragment  of  an  Adoration  of  the  Shepherds)  1665—1672  L’Enfant  Jesus  (Fragment  d’une  Adoration  des  Bergers) 


* Woburn  Abbey,  Herzog  von  Bedford 


Auf  Leimvand 


Madonna 


Madonna  della  Sedia 

1660—1675 


La  Vierge  et  l’Enfant 


51 


Die  Ruhe  auf  der  Flucht  nach  Agypten 

Rest  on  the  Flight  1655-1670  Repos  pendant  la  Fuite  en  Egypte 


Budapest,  Museum 


Auf  Leinwand,  H.  1,56,  B.  1,26 


Flight  to  Egypt 


Die  Flucht  nach  Agypten 

1660—1670 


Fuite  en  Egypte 


52 


Budapest,  Museum 


Auf  Leinwand,  H.  1,56,  B.  1,26 


Die  heilige  Familie  mit  dem  Johannesknaben 

(Die  Kreuzbinder) 

Holy  Family  will]  the  Infant  St.  John  1660-  1670  Sainte  Familie  avec  Jean  Baptiste  Enfant 


53 


London,  Earl  of  Northbrook  Auf  Leintvand,  H.  0,29,  B.  0,23 

Die  heilige  Familie  in  der  Schreinerwerkstatt 

Holy  Family  in  the  Carpenter’s  Shop  1660—1680  Sainte  Familie  dans  l’Atelier 


54 


Ch.itsworth,  Herzog  von  Devonshire 

Holy  Family 


A nf  Lei  invalid 


Heilige  Familie 


Sainle  Familie 


55 


* St.  Petersburg,  Ermitage 


Holy  Family 


Auf  Leinwand,  H.  0,23,  B.  0,18 

Die  heilige  Familie 

1660—1675  Sainte  Familie 


56 


57 


Die  heilige  Jungfrau  mit  dem  Christkind  und  der  heiligen  Anna 
Virgin,  Child  and  St.  Anna  1665—1670  La  Vierge,  l'Enfant  et  Sainte  Anne 


58 


Auf  Le imvand 

Rom,  Vatikan 

Die  Verlobung  der  heiligen  Katharina 

Mystic  Wedding  of  St.  Catherine  1665-1675  Manage  mystique  de  Sainte  Catherine 


Madrid,  Prado  Auf  Lcinwand,  H.  3,11,  B.  2,49 

Die  Vision  des  heiligen  Bernhard 

Vision  of  St.  Bernard  1665-1670  Vision  de  Saint  Bernard 


59 


Madrid,  Prado 


Auf  Leinwand 


Die  Vision  des  heiligen  Bernhard  (Ausschnilt) 


Vision  of  St.  Bernard 
(Detail) 


1665—1675  Vision  de  Saint  Bernard 

(Detail) 


60 


Auf  Leinwand 

Sainte  Famille 


Heytesbury  House,  Margaret  Lady  Heytesbury 

Holy  Family 


Heilige  Familie 

1665-1670 


61 


Budapest,  Museum  Auf  Leinxvand,  H.  1,37,  B.  1,12 

Madonna,  das  Christkind  wickelnd 

(La  Virgen  de  la  faja) 

The  Virgin  swaddling  the  Infant  Christ  1665—1670  La  Vierge  emmaillotant  l'Enfant 


62 


* London,  Wallace-Kollektion  Auf  Leinwand 

Die  heilige  Familie  mit  dem  Johannesknaben 

Holy  Family  with  the  Infant  St.  John  1660—1670  Sainte  Familie  avec  Jean  Baptiste  Enfant 


63 


Paris,  ehemals  Sammlung  Kann  Auf  Leinwand 

Die  heilige  Familie  mit  dem  Johannesknaben 

The  Holy  Family  with  the  Infant  St.John  1668—1675  Sainte  Familie  avec  Saint  Jean 


64 


! London,  Lady  Wantage 


The  Santiago  Madonna 


Die  Madonna  aus  dem  Haus  Santiago 


1668—1682 


La  Vierge  de  la  Maison  Santiago 


Murillo  5 


65 


* Dresden,  Gemaldegalerie 


Madonna  Leganes 


Die  Madonna  Leganes 

1665—1675 


Auf  Leinwand,  H.  1,66,  B.  1,45 


Madone  Leganes 


66 


La  Virgen  de  Sevilla 

Gegen  1670 


:i:  Paris,  Louvre 

The  Virgin  of  Sevilla 


Auf  Leinwand,  H.  2,40,  B.  1,90 

La  Vierge  de  Seville 


67 


68 


Woburn  Abbey,  Herzog  von  Bedford  Auf  I.einwand 

Blumenstretiende  Engel 

Angels  with  Flowers  1655—1670  Anges  semant  des  Fleurs 


i:  Sevilla,  Museum  Auf  Leinwand,  H.  3,92,  B.  2,75 

Die  Concepcion  der  Franziskaner 

The  “Concepcion”  of  the  Franciscans  1652—1665  Immaculee  Conception  des  Franciscains 


69 


"Berlin,  G.  v.  Mallmann 


Immaculate  Conception 


Auf  Leinwand 


Die  unbefleckte  Empfangnis 

1655—1665 


Immaculee  Conception 


-'*  : n 


70 


Madrid,  Prado  Auf  Lelinvand,  H.  2,22,  B.  1,18 

Die  „Concepcion“  aus  Aranjuez 

The  “Concepcion”  of  Aranjuez  1655—1665  Immaculee  Conception  d’Aranjuez 


71 


' 


Madrid,  Prado 


AUI  LCJ I J \\  cl  1 1U, 


Die  .Concepcion”  mit  der  grofien  Mondsichel 

‘Concepcion”  with  the  Crescent  1660—1670  Immaculee  Conception  au  grand  Croissant 


72 


’ St.  Petersburg,  Frmitage 


Die 


The  “Concepcion  Esquilache” 


Auf  Leinwand,  H.  2,30, 

.Concepcion  Esquilache” 

1660—1670  Immaculee  Conception  Esquilache 


73 


* Madrid,  Prado  Auf  Leinwand,  H.  2,06,  B.  1,44 

Die  Concepcion  aus  S.  Ildefonso 

“Concepcion  from  S.  Ildefonso  1665—1670  Immaculee  Conception  de  Saint  Ildefonse 


74 


Bowood  House,  Lord  Lansdowne 


The  little  "Concepcion' 


Auf  Leinwnnd,  H.  0,35,  B.  0,26 


Die  kleine  „Concepcion‘ 

1665—1675 


L;i  petite  „Concepcion“ 


75 


76 


La  Purisima  mit  verehrenden  Glaubigen 

La  Purisima  with  Worshippers  Um  1665  La  Purisima  avec  des  Adorateurs 


77 


DerTraum  des  romischen  Patriziers 

Dream  of  the  Roman  Patrician  Um  1665  Songe  du  Patricien 


78 


Die  Grundung  von  Sa.  Maria  Maggiore  in  Rom:  Der  romische  Patrizier  vor  dem  Papst 
Foundation  of  S.  Maria  Maggiore  in  Rome:  Uni  16(55  Fondation  de  Ste.  Marie  Majeure: 

The  Roman  Patrician  before  the  Pope  Revelation  du  Songe 


Sevilla,  Kathedrale:  Kapitelsaal 

Immaculate  Conception 

Die  unbefleckte  Empfangnis 
1668 

Immaculee  Conception 

79 


■■  Sevilla,  Kathedrale:  Taufkapelle 


Baptism  of  Christ 


Auf  Leinwand 


Die  Taufe  Christi 

1668 


Bapteme  du  Christ 


80 


Murillo 


6 


81 


London,  Herzog  von  Westminster  Auf  Leinwand,  M.  0,20,  B.  0,3 

Schlafender  Jesusknabe 

The  Infant  Christ  sleeping  1660—1670  Enfant  Jesus  endormi 


* London,  Baron  Rothschild 


Auf  Leinwand,  H.  1,52,  B.  1,09 


The  good  Shepherd 


Der  gute  Hirte 

1660—1670 


Le  bon  Berger 


82 


New  York,  Hisp.  Society 


Auf  Leinwand,  H.  0,56,  B.  0,41 


The  good  Shepherd 


Der  gule  Hirte 

1660-1670 


Le  bon  Berger 


83 


Seeon.  Herzog  von  Leuchtenberg 


Auf  Leinwand 


Der  gute  Hirte 

1665—1672 


The  good  Shepherd 


Le  bon  Pasteur 


* London,  Nationalgalerie  Auf  Holz,  H.  1,52,  B.  1,09 

Der  Johannesknabe  mit  dem  Lamm 

St.  John  with  the  Lamb  1660-1665  Saint  Jean  et  l’Agneau 


85 


* Madrid,  Prado 

Der  gottliche  Schafer 

The  divine  Shepherd  1660—1670 


Auf  Leinwand,  H.  1,23,  B.  1,01 


Le  divin  Berger 


86 


■ Madrid,  Prado 


Auf  Leinwand,  H.  1,21,  B.  0,99 


Der  Joliannesknabe  mit  deni  Lamm 


The  Infant  St.  John  with  the  Lamb 


1660—1670 


Saint  Jean  et  I'Agneau 


87 


Dublin,  Nationalgalerie 


Auf  Leinwand 


Der  Johannesknabe  mit  dem  Lamm 

The  Infant  St.  John  with  the  Lamb  1660—1670  Saint  Jean  et  TAgneau 


89 


* Madrid,  Prado  Auf  Leinwand,  H.  1,04, 

Das  Christkind  labt  den  Johannesknaben  (Los  ninos  de  la  concha) 

The  Infant  Child  and  the  Baptist  Urn  1670  Le  Christ  et  Jean  Baptiste  Enfants 


90 


Glasgow,  Unlversltiit  Auf  Lclnwand 

Der  gute  Hirte 

The  good  Shepherd  1665—1670  Le  bon  Berger 


London,  Earl  of  Wemiss  Auf  Leinwand 

Der  lieilige  Franziskus  von  Paula  und  das  Christkind 
St.  Francis  and  the  Christchild  1660—1670  Saint  Francois  avec  l'Enfant  Jesus 


91 


Madrid,  Prado 

Auf  Leinwand,  H.  0,52,  B.  0,41 

Ecce  Homo 

Ecce  Homo 

1655—1670 

Ecce  Homo 

92 


Madrid,  Prado  Auf  Leimvand,  H.  0,52,  B.  0,41 

Mater  dolorosa 

Mother  of  Sorrow  1655-1670  La  Vierge  des  Douleurs 


93 


94 


Cliristus  nach  der  Geifielung 

Christ  after  the  Flagellation  1650—1670  Le  Christ  apres  la  Flagellation 


Wien,  Gnlerie  Czernin 

Auf  Lein  wand 

Der  Kreuzestod 

Crucifixion 

1660-1670 

Le  Christ  en  Croix 

Madrid,  Prado  Auf  Leinwand,  H.  0,50,  B.  0,77 

Kopf  Johannis  d.  T. 

Head  of  St.  John  1665—1675  Tete  de  Jean  Baptiste 


Madrid,  Prado  Auf  Leinwand,  H.  0,50,  B.  0,77 

Kopf  des  Apostels  Paulus 

Head  of  St.  Paul  1665—1675  Tete  de  Saint  Paul 


96 


* Madrid,  Prado 

Der  heilige  Franziskus  in  der  Porciuncula 
The  Roses  of  St.  Francis  1667—1675 


Auf  Leinwand,  H.  2,06,  B.  1,46 


La  Portioncule 


Murillo  7 


97 


i: St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  2,92,  B.  2,06 

Der  Tod  des  heiligen  Pedro  Arbues 

Martyrdom  of  St.  Peter  Arbues  166C— 1670  Mort  de  l’lnquisiteur  Pierre  Arbuez 


98 


Rom,  Vatikan  Auf  Leinwand 

Der  Tod  des  heiligen  Pedro  Arbues 

Martyrdom  of  St.  Peter  Arbues  1665—1675  Mort  de  l’lnquisiteur  Pierre  Arbuez 


99 


"Munchen,  Sammlung  Carstanjen 


St.  Mary  Magdalen 


Die  reuige  Magdalena 

1665 — 1675 


Auf  Leinwand,  H.  1,37,  B.  1,16 


Marie-Madeleine 


100 


* Madrid,  Prado 


Auf  Leinwand,  H.  1,04,  B.  1,00 


St.  Francis  of  Paula 


Der  heilige  Franz  von  Paula 

1665—1675  Saint  Francois  de  Paule 


101 


Madrid,  Prado 

Auf  Leinwand,  H.  1,11,  B.  0,83 

St.  Francis  of  Paula 

Der  heilige  Franz  von  Paula 

1670-16S0 

Saint  Francois  de  Paule 

102 


103 


Rebekka  und  Elieser 

Rebeccah  and  Eleazar  1655—1670  Rebecca  el  Eleazar 


104 


Wien,  Graf  Harrach  Auf  Leinwand 

Esau  verkauft  seine  Erstgeburt 

Esau  sells  his  Birth-Right  1650—1670  Esau  vend  son  Droit  d’Ainesse 


105 


Isaak  segnet  Jakob 

Isaac  blesses  Jacob  1665-1670  Isaac  benissant  Jacob 


106 


Jakobs  Traum  von  der  Himmelsleiter 

The  Dream  of  Jacob  1665-1670  Songe  de  Jacob 


107 


London,  Herzog  von  Westminster  Auf  Leinwand,  H.  2,45,  B.  3,58 

Laban  sucht  die  gestohlenen  Hausgdtter 

Laban  searching  for  his  stolen  House-gods  1665—1670  Laban  a la  recherche  de  ses  Dieux  doinestiques 


cS 

QJ  O 

CO 


108 


109 


Der  verlorene  Sohn  erhalt  seinen  Anteil 

The  prodigal  Son  1(560-1680  L'Enfant  prodigue 


no 


Auszug  des  verlorenen  Solines 

Departure  of  the  prodigal  Son  1660-1680  La  Sortie  de  l’Enfant  prodigue 


Ill 


Der  verlorene  Sohn 

The  prodigal  Son  1660—1680  Le  Banquet  de  1’Enfant  prodigue 


— 


C 

a s 

o t: 
11 

>. 

c3 

£ 


112 


Murillo  8 


113 


Der  verlorene  Solin  unter  den  Schweinen 

The  prodigal  Son  1660—1680  L’Enfant  prodigue  gardant  les  Pourceaux 


114 


Der  verlorene  Sohn  als  Schweinelr'rt 

The  prodigal  Son  1670-1680  L’Enfant  prodigue  gardand  les  Pourceaux 


115 


Die  Rtickkehr  des  verlorenen^Sohnes 

Return  of  the  prodigal  Son  1660—1680  Le  Retour  de  l’Enfant  prodigue 


London,  Bridgewater  House  . Auf  Leinwand 

Der  arme  Lazarus 

Lazarus  and  the  rich  Man  166E— 1682  Le  pauvre  Lazare 


116 


New  York,  M.  Elkins 

Aui  Lelnwnncl 

Der  heilige  Ferdinand 

St.  Ferdinand 

1671 

Saint  Ferdinand 

117 


Sevilla,  Kathedrale 

Auf  Leinwand 

Der  heilige  Ferdinand 

St.  Ferdinand 

Um  1671 

Saint  Ferdinand 

118 


119 


The  Multiplication  of  the  Bread  and  the  Fish  Um  1671—1674  La  Multiplication  des  Pains 


120 


Sevilla,  Carldad 

Das  Brot-  und  Fischwunder 

The  Multiplication  of  the  Bread  and  the  Fish  (Ausschnitt)  La  Multiplication  des  Pains 

(Detail)  (Detail) 


121 


Moses  brings  Water  out  of  the  Rock  Um  1671—1674  Mo'ise  faisant  jaillir  l'Eau  du  Rocher 


Sevilla,  Caridad 


Das  Wunder  Mosis  am  Felsenquell 

Moses  brings  Water  out  of  the  Rock  (Ausschnitt)  Molse  faisant  jaillir  l’Eau  du  Rocher 

(Detail)  (Detail) 


122 


Der  heilige  Juan  de  Dios 

Um  1671—1674 


* Sevilla,  Caridad 

St  Juan  de  Dios 


Auf  Leinwand,  H.  3,25,  B.  2,45 

Saint  Juan  de  Dios 


123 


* Madrid,  Prado  Auf  Leinwand,  H.  3,25,  B.  2,45 

Die  Krankenpflege  der  heiligen  Elisabeth 

(EI  Tinoso) 

St.  Elisabeth  nursing  the  Sick  Um  1671—1674  Sainte  Elisabeth  soignant  les  Teigneux 


124 


125 


St.  Petersburg,  Ermitage  Au(  Leinwand>  H.  2,36,  B.  2,60 

Die  Befreiung  Petri 

Liberation  of  St.  Peter  Um  1671—1674  Delivrance  de  Saint  Pierre 


Orwell-Park,  G.  Tomline  Auf  Leinwand 

Die  Heilung  des  Gichtbriichigen 

Healing  of  the  Paralytic  La  Guerison  du  Paralytique 


London,  Herzog  von  Sutherland  Auf  Leinwand 

Die  Heimkehr  des  verlorenen  Sohnes 
Return  of  the  prodigal  Son  Um  1671—1674  Retour  de  l’Enfant  prodigue 


Sevilla,  Cnridad  Aid  Leinwnnd 

Der  junge  Johannes  der  Tauter 

Young  St.John  the  Baptist  Urn  1671  Saint  Jean  Baptiste  Enfant 


127 


Sevilla,  Caridad 

Das  Christkind  als  Salvator  Mundi 
The  Infant  Christ  as  Salvator  Mundi  Um  1671 


Auf  Leinwand 

Salvator  Mundi 


128 


K81n,  Wallraf-Richartz-Museum 


The  Roses  of  St.  Francis 


La  Portiuncula 

Urn  1674 — 1676 


Le  Miracle  de  la  Rortionculc 


Murillo  9 


129 


Sevilla,  Museum  Auf  Leinwand,  H.  2,80,  B.  1,92 


„La  Immaculada  Concepcion  mit  Gottvater"  der  Kapuziner 

Um  1672—1676 

The  “Immaculala  Conceptio”  of  the  Capuchines  L’„Immaculee  Conception"  des  Capucins 


130 


*Sevilla,  Museum  Auf  Lelnwnnd,  II.  1,89,  13.  1,20 

Der  heilige  Felix  von  Cantalicio  mit  dein  Christkind 
St.  Felix  of  Cantalicio  with  the  Infant  Christ  Um  1674—1676  Saint  Felix  de  Cantalice  et  l'linfant  Jesus 


131 


Sevilla,  Museum 


Auf  Leinwand,  H.  1,99,  B.  1,22 


Der  heilige  Antonius  von  Padua 

St.  Anthony  of  Padua  with  the  Infant  Christ  Um  1674—1676 


mit  dem  Christkind 

Saint  Antoine  de  Padoue  et  l’Enfant  Jesus 


132 


Sevilla,  Museum 


Der  heilige  Antonins  von  Padua  mit  dem  Christkind 
St.  Anthony  of  Padua  with  the  Infant  Christ  (Ausschnitt)  Saint  Antoine  de  Padoue  et  l’Enfant  Jesus 
(Detail)  (Detail) 


133 


Sevilla,  Museum 


Auf  Leinwand,  H.  2,26,  B.  1,25 


Der  „heilige  Joseph  mit  dem  Christkind“  der  Kapuziner 
‘St.  Joseph  with  the  Infant  Christ”  Um  1674—1676  „Saint  Joseph  et  l’Enfant  Jesus" 
of  the  Capuchines  des  Capucins 


Sevilla,  Museum 

Der  „heilige  Joseph  mit  dern  Christkind “ der  Kapuziner 

“St.  Josepli  with  the  Infant  Christ”  (Ausschnitt)  , .Saint  Josepli  et  l'Enfant  Jesus' 

of  file  Capuchines  des  Capucins 

(Detail)  (Detail) 


135 


Sevilla,  Museum 

Der  „heilige  Johannes  der  Taufer“  der  Kapuziner 


Um  1674—1676  ' . 

„St.  John  the  Baptist”  of  the  Capuchines  .Saint  Jean  Baptiste  des  Capueins 


136 


Sevilla,  Museum 


Auf  Leinwand,v;H.  2,05,  B.  1,79 


Die  Heiligen  Leander  und  Bonaventura 


The  Saints  Leander  and  Bonaventura 


Saint  Leandre  et  Saint  Bonaventure 


137 


Sevilla,  Museum 


Auf  Leinwand,  H.  2,07,  B.  1,78 


The  Saints  Justa  and  Rufina 


Sa.  Justa  und  Sa.  Rufina 

Um  1672—1676  Sainte  Juste  et  Sainte  Rufine 


138 


Sevilla,  Museum 


St.  Rufina 
(Detail) 


Sa.  Rufina 

(Ausschnitt)  Sainte  Rufine 

(Detail) 


139 


Sevilla,  Kathedrale 


The  Guardian  Angel 


Der  Schutzengel 

Urn  1674—1676 


Auf  Leinwand,  H.  1,70,  B.  1,13 


L’Ange  gardien 


140 


Sevilla,  Museum 


Auf  Lei  invalid,  11.2,95,  B.  1,95 


Vision  des  heiligen  Felix  von  Cantalicio 

Vision  of  St.  Felix  of  Cantalicio  Um  1672—1676  Vision  de  Saint  Felix  de  Cantalice 


141 


Sevilla,  Museum 

Vision  des  heiligen  Felix  von  Cantalicio 

Vision  of  St.  Felix  of  Cantalicio  (Ausschnitt)  Vision  de  Saint  Felix  de  Canfalice 

(Detail)  (Detail) 


142 


Sevilla,  Museum 

Vision  des  heiligen  Felix  von  Cantalicio 
Vision  of  St.  Felix  of  Cantalicio  (Ausschnitt)  Vision  de  Saint  Felix  de  Cantalice 
(Detail)  (Detail) 


143 


* Sevilla,  Museum  Auf  Leinwand,  H.  2,90,  B.  1,92 

Die  Almosenspende  des  heiligen  Thomas  von  Villanueva 

St.  Thomas  of  Villanueva  spending  Alms  Um  1674— 1676  Saint  Thomas  de  Villeneuve  faisant  l'Aumone 


144 


♦Sevilla,  Museum 

Die  Kapuzinermadonna 
“Madonna”  of  the  Capuchines  Um  1674—1676 


Auf  Leimvand,  H.  1,18,  B.  0,97 

Madone  des  Capucins 


Murillo  10 


145 


Sevilla,  Museum  Auf  Leinwand,  H.  3,20,  B.  2, IS 

Die  „ Verkiindigung"  der  Kapuziner 

The  ‘‘Annunciation"  of  the  Capuchines  Um  1672—1676  L’Annonciation  des  Capucins 


146 


Sevilla,  Museum 

Die  Anbetung  der  Hirten 
The  Adoration  of  the  Shepherds  Um  1674—1676 


Auf  Lelnwniul,  II.  2,77,  B.  1,81 

L'Adoration  des  Bergers 


147 


Sevilla,  Museum  Auf  Leinwand,  H.  2,87,  B.  1,90 

Der  heilige  Antonius  von  Padua  mit  deni  Christkind 
St.  Anthony  of  Padua  with  the  Infant  Christ  Saint  Antoine  de  Padoue  et  l’Enfant  Jesus 

Um  1672—1676 


148 


149 


Beweinung  Christi 

Pieta  Um  1672—1676  Pieta 


Sevilla,  Museum  Auf  Leinwand,  H.  2,77,  B.  1,81 

Die  Weltentsagung  des  heiligen  Franziskus  von  Assisi 

St.  Francis  of  Assisi  takes  the  Crucifix  Um  1674—1676  Saint  Frangois  d’ Assise 

for  his  only  Properly  renonce  au  Monde 


150 


Sevilla,  Museum 


Die  Weltentsagung  ties  heiligen 
St.  Francis  of  Assisi  takes  the  Crucifix  (Ausschnitt) 
for  his  only  Property 
(Detail) 


Franziskus  von  Assisi 

Saint  Francois  d’Assise 
renonce  au  Monde 
(Detail) 


151 


* New  York,  Museum  der  Hispanic  Society 


Der  heilige  Franz,  den  Kruzifixus  umarmend 
St.  F ancis  of  Assisi  lakes  the  Crucifix  1675—1680  Saint  Francois  d’Assise 

for  his  only  Property  renonce  au  Monde 


152 


* Sevilla,  Museum 


Auf  Leinwand,  H.  2,24, 


Die 

The  “Purisima”  of  the  Capuchines 


„Purisima“  der  Kapuziner 

Um  1674-1676 


La 


Purfsim 


Sevilla,  Museum 

Die  „Purisima“  der  Kapuziner 

The  “Purisima”  of  the  Capuchines  (Ausschnitt) 

(Detail) 


La  „Purisima“ 
(Detail) 


154 


Sevilla,  Museum 

Auf  Leinwand,  H.  0,GG,  B.  0,70 

La  Virgen  de  la  Serviletta 

Madonna 

Um  1674—1676 

La  Vierge  et  l’Enfant 

155 


156 


i:  London,  Stafford  House  Auf  Leinwand  * London,  Stafford  House  Auf  Leinwand 

Die  heilige  Justa  Die  heilige  Rufina 

St.  Justa  Sainte  Juste  St.  Rufina  Sainte  Rufine 


Auf  Leinwand,  H.  2,49,  B.  1,32 


* Madrid,  Prado 


Vision  of  St.  Augustin 


Die  Vision  des  heiligen  Augustin 

Um  1678 


Vision  de  Saint  Augustin 


157 


* Sevilla  Museum  Auf  Leinwand,  H.  2,50,  B.  1,32 

Der  heilige  Augustin  vor  der  Madonna  mit  dem  Jesusknaben 

St.  Augustin  before  the  Madonna  La  Vierge  et  l'Enfant  avec  Saint  Augustin 

Um  1678 


Sevilla,  Museum 

Der  heilige  Augustin  vor  der  Madonna  mit  dem  Jesusknaben 

St.  Augustin  before  the  Madonna  (Ausschnitt)  La  Vierge  et  l’Enfant  avec  Saint  Augustin 

(Detail)  (Detail) 


159 


Sevilla,  Museum  Auf  Leinwand,  H.  2,49,  B.  1,32 

Die  Vision  des  heiligen  Augustin 
Vision  of  St.  Augustin  Um  1678  Vision  de  Saint  Augustin 


M:Mii lichen,  Altc  Pinakothek 


Auf  Lclnwancl,  H.  2,22,  B.  1,4«X 


Der  lieilige  Thomas  von  Villanueva  lieilt  einen  Lalimen 
St.  Thomas  of  Villanueva  Um  1678  Saint  Thomas  de  Villanueva 

healing  a Cripple  guerit  un  Estropi6 


Murillo  11 


161 


London,  Wallace-Kollektion 


Auf  Leinwand 


Die  Almosenspende  des  heiligen 

St.  Thomas  of  Villanueva  giving  1670—1682 

Alms  to  the  Poor 


Thomas  von  Villanueva 

Saint  Thomas  de  Villanueva 
distribuant  des  Aumones 


162 


* London,  Herzog  von  Northbrook  Auf  Leinwand 

Die  Almosenspende  des  heiligen  Thomas  von  Villanueva 

St.  Thomas  of  Villanueva  giving  Urn  1678  Saint  Thomas  de  Villanueva 

Alms  to  the  Poor  distribuant  des  Aumones 


* Budapest,  Museum 


Auf  Leinwand,  H.  2,15,  B.  1,82 


Madonna  and 
giving  Bread 


Madonna  mit  Christkind,  an  Pilger  Brot  austeilend 


the  Infant  Christ  Um  1678 

to  the  Pilgrims 


L'Enfant  Jesus  distribuant 
du  Pain  aux  Pelerins 


164 


* London,  Earl  of  Northbrook  Auf  Lelnwnnd 

Die  Concepcion  mit  dem  Spiegel 

Immaculate  Conception  with  the  Mirror  1660—1678  Immacul^e  Conception  au  Miroir 


165 


'•'Paris,  Louvre 


The  Soult  “Concepcion" 


Die  „Concepcion  Soult“ 
Um  1678 


Auf  Leinwand,  H.  2,7-1,  B.  1,90 


Immaculee  Conception  Soult 


166 


Himmelfahrt  Maria“ 

1670-1680 


Aul  Lelnwimd,  II.  1,97,  II.  1,<I5 

Assomption 


*St.  Petersburg,  Ermitage 

Ascension  of  the  Virgin 


167 


* Richmond,  Sammlung  Cook  Auf  Leinwand 

Die  heilige  Jungfrau,  die  Verkiindigung  empfangend 

The  Virgin  of  the  Annunciation  1670—1680  Vierge  de  l’Annonciation 


168 


London,  Wallace-Kollektion 

Auf  Lei  invalid,  H.  1,78,  B.  1,29 

Verkiindigung 

Annunciation 

1668  1675 

Annonciation 

169 


Dulwich,  Galerie 


Auf  Leinwand 


Rosenkranzmadonna  in  den  Wolken 

Madonna  of  the  Rosary  in  the  Clouds  1665—1682  Madone  au  Rosaire  sur  les  Nues 


170 


‘ London,  Lady  Wantage 


Madonna  in  der  Engelsgloriole  (La  Vierge  coupee) 

Madonna  with  Angels  1665-  1675  Vierge  an  Chceur  des  Anges 


171 


Paris,  Sammlung  Dr.  Stillmann  Auf  Leinwand 

Madonna  mit  stehendem  Christkind 

Madonna  with  the  Infant  Christ  1670—1682  La  Vierge  et  l’Enfant 


172 


Rom,  Oalerie  Corsini 


The  Gipsy  Madonna 


Die  Zigeunermadonna 

1670-1682 


La  Vierge  et  l'Enfant 


173 


Rom,  Galerie  Corsini 

The  Gipsy  Madonna 
(Detail) 

Die  Zigeunermadonna 

(Ausschnitt) 

La  Vierge  et  l'Enfant 
(Detail) 

174 


* Paris,  Fr.  Kleinberger 


Auf  Lei  invalid , H.  1,25,  H.  0,95 


Der  heilige  Joseph  mit  schlafendem  Christkind 

St.  Joseph  with  the  sleeping  Christ-child  1(568—1675  Saint  Joseph  et  l’Enfant  Jesus  endormi 


175 


Paris,  Trotti  Auf  Leimvand 

Der  heilige  Joseph  mit  dem  Christkind 

St.  Joseph  with  the  Christ-child  1668—1678  Saint  Joseph  et  l'Enfant  Jesus 


176 


St.  Petersburg,  Ermitage  Auf  Lelinvaud,  H.  0,13,  B.  0,52 

Der  heilige  Joseph  mit  dem  Cliristusknaben 
St.  Joseph  with  the  Christ-child  1665—1680  Saint  Joseph  et  l’Enfant  Jesus 


Murillo  12 


177 


ftf 


St.  Petersburg,  Ermitage 


Auf  Leinwand,  H.  0,70,  B.  0,51 


Der  heilige  Joseph  mit  dem 

St.  Joseph  with  the  Infant  Christ  1672—1682 


Christkind 

Saint  Joseph  et  l’Enfant  Jesus 


178 


London,  Lyne  Stephens 


Au l Leinw 


Der  heilige  Joseph  mit  dem  Christkind 

St.  Joseph  with  the  Infant  Christ  1670—1675  Saint  Joseph  et  l’Enfant  Jesus 


London,  Wallace-Kollektion 


Marriage  of  the  Virgin 


Auf  Leinwand 


Vermahlung  der  heiligen  Jungfrau 

1675-1682 


Mariage  de  la  Vierge 


180 


181 


Die  Anbetung  der  Hirten 

The  Adoration  of  the  Shepherds  1672—1682  L’Adoration  des  Bergers 


Imp 


St.  Petersburg,  Ermitage  Auf  Leinwand,  H.  0,99,  B.  0,61 

Die  Flucht  nach  Agypten 

The  Flight  to  Egypt  1675—1680  La  Fuite  en  Egypte 


182 


Richmond,  Sammlung  Cook 

Ecce  Homo 

Ecce  Homo 

1675—1682 

Ecce  Homo 

183 


Cadiz,  Provinzialmuseum 

Auf  Leinwand 

Ecce  Homo 

Ecce  Homo 

1680—1682 

Ecce  Homo 

184 


St.  Petersburg,  Ermitage 


Crucifixion 


A til'  Leiiiwnml,  H.  B.  0,60 

Golgatha 

1675—1682  Le  Christ  cn  Croix 


185 


Madrid,  Prado 


Auf  Leinwand,  H.  1,83,  B.  1,07 


Christus  am  Kreuz  verschieden 

Dead  Christ  on  the  Cross  1675—1682  Le  Christ  en  Croix 


186 


Madrid,  Prado  Auf  Leinwand,  H.  0,71,  B.  0,54 

Christus  am  Kreuz  verschieden 

Dead  Christ  on  the  Cross  1675—1682  Le  Christ  en  Croix 


Ehemals  London,  Sammlung  Ashburnham 


St.  Francis 


Auf  Leinwand 


Der  heilige  Franziskus 

1675—1682 


Saint  Francois 


188 


St.  Petersburg,  Ermitage 


Auf  Lei  invalid,  II.  2,49,  B.  1,07 


Die  Vision  des  lieiligen  Antonins 

Vision  of  St.  Anthony  1675—1680  Vision  de  Saint  Antoine 


189 


190 


* Berlin,  Kaiser-Friedrich-Museum  Leinwatid, 

Die  Vision  des  heiligen  Antonius 

Vision  of  St.  Anthony  1670—1680  Vision  de  Saint  Antoine 


191 


Die  Bekehrung  Pauli 

Conversion  of  St.  Paul  1675—1682  Conversion  de  Saint  Paul 


192 


Die  Marter  des  heiligen  Andreas 

Martyrdom  of  St.  Andrew  1675—1682  Martyre  de  Saint  Andre 


* London,  Wallace-Kollektion  Auf  Leinwand,  H.  0,70,  B.  0,51 


Madonna  mit  den  Heiligen  Johannes  d.  T.,  Franziskus, 
Justa  und  Rufina 


Madonna  with  Angels 
and  Saints 


(La  Vierge  aux  Anges) 
1670-1682 


La  Vierge  aux 
Anges 


Murillo  13 


193 


Madrid,  Prado 


Auf  Leinwand,  H.  3,09,  B.  2,51 


Die  Kaselverleihung  an  den  heiligen  Ildefons 

St.  Ildefonso  receives  the  Chasuble  1675—1682  Saint  Ildefonse  re^oit  la  Chasuble 


194 


Mi  London,  Nationalgalerle  Auf  Lclnwnnd 

Die  Heilige  Familie  vom  Haus  Pedroso 

“Holy  Family”  of  the  Pedroso  House  1681  — 1682  Sainte  Familie  de  la  Maison  Pedroso 


195 


196 


* Cadiz,  Knpuzincrklostcr 

Die  Verlobung  der  heiligen  Katharina 

The  Mystic  Wedding  of  St.  Catherine  1682  Mariage  mystique  de  Sainte  Catherine 


\u I'  Lelnwand 


197 


GENREBILDER 


GENRE  PICTURES 


SCENES  DE  GENRE 


Madrid,  Prado 

Das  bettelndc  Zigeunermadclien 

Auf  Lclnwand,  H.  0,63,  B.  0,43 

(La  gallega  de  la  moneda) 

Gipsy-girl  beggar 

1645-1650 

Jeune  Bohemienne 

201 


i:  Paris,  Louvre 


Auf  Leimvand,  H.  1,37,  B.  1,15 


The  Lice-Chase 


Der  Lausefanger 

1645-1655 


Le  Chercheur  de  Poux 


202 


Munchen,  Altc  Pinakothek 

Street-Boys  with  Fruits 


Trauben-  und  Melonenesser 

1645 — 1655 


Auf  Lelnwaitd,  H.  1,45,  B.  1,4S 
Les  Mangeurs  de  Fruits 


203 


Munchen,  Sammlung  Carstanjen 


Die  Mahlzeit  der  alten  Frau 


The  Meal  of  the  old  Woman 


1650—1660 


Auf  Leinwand,  H.  1,37,  B.  1,07 


Le  Repas  de  la  Vieille 


204 


Lachender  .lunge 

1650—1670 


Laughing  Boy 


Jeune  Paysan  riant 


London,  Nationalgalerie 


A ii f Lcinwand 


205 


St.  Petersburg,  Ermitage 


Auf  Leinwand,  H.  0,74,  B.  0,60 


The  Orange-Seller 


Die  Orangenverkauferin 

1650—1660 


Vendeuse  d’Oranges 


206 


207 


Dulwich,  Galerie  Auf  Leinwand 

Wenn  bose  Buben  locken  . . . (Der  Wiirfelspieler) 

The  Dice-Player  1655—1670  Joueur  de  Des 


208 


wlch,  Galerle 


Auf  Leinwand,  H.  (),(>.},  13.  0,-1 1 


The  poor  Nigger-Boy 


Der  arme  Negerjunge  (Selbstessen  macht  fett) 


1660—1670 


Le  pauvre  Negre 


Murillo  14 


209 


London,  Dorchester-House 

Auf  Leinwand 

Madchen  am  Fenster 

Girl  at  the  Window 

1665—1675 

Jeune  Fille  a la^Fenetre 

210 


Philadelphia,  Sa  mm  lung  Widener 

Die  lockende  Sclione  (,Las  Gallegas" 
Qallegas  at  the  Window  1665—1675 


Auf  Leinvvanc 

am  Fenster) 

Gailegas  ft  la  Fenetre 


Dulwich,  Galerie 


Auf  Leinwand 


The  Flower-Girl 


Das  Blumenmadchen 

1660—1670 


Jeune  Fille  offrant  des  Fleurs 


212 


Munchen,  Alte  Pinnkothek 

Die  Wiirfelspieler 

The  Dice-Players  1660—1680 


Auf  Lclnwand,  H.  1,46,  B.  1,08 

Le  Jen  de  Des 


213 


Munchen,  Alte  Pinakothek  Auf  Leinwand,  H.  1,23,  B.  1,02 

Die  Pastetenesser 

Street-Boys  1670—1682  Jeunes  Qargons  mangeant  des  Pates 


214 


Miinchen,  Alte  Pinnkothek 


Die  geldzahlenden  Obstverkaufer 

Fruit-Sellers  counting  Money  1670—1682  Les  Enfants  aux  Pieces  d’Argent 


Munchen,  Alte  Pinakothek 


Toilet-making 


Hausliche  Toilette 

1670-1682 


Auf  Leinwand,  H.  1,48,  B.  1,13 


Toilette  familiere 


216 


Amsterdam,  Sammlung  Dr.  Lanz 


Genre-scene 


Auf  Leinwand 

Genreszene 

1670—1680  Mere  et  les  Enfants  avec  des  Moutons 


217 


III. 

BILDNISSE 


PORTRAITS 


PORTRAITS 


Madrid,  A,  dc  Beruete  Allf  i.eimvnnd 

Der  Sanliagoritter  Enriquez 

Don  Enriquez,  Knight  of  the  Uni  1645  Don  Enriquez,  Chevalier 

Order  of  Santiago  de  Saint  Jacques 


221 


Don  Andres  de  Andrady  y Col 

1650-1660 


v London,  Lord  Northbrook 


Auf  Leinwand,  H.  0,78,  B.  0,46 


* London,  Herzog  von  Wellington 


Portrait  of  a Man 


Auf  Lcinwnnd 


Mannliches  Bikinis 

1650 — 16R0 


Portrait  d'Homme 


223 


Bowood-House,  Lord  Lansdowne 


Auf  Leinwand 


Der  Kanonikus  D.  Justino  de 

The  Canon  D.  Justino  de  Neve  y Yebenes  1655—1665 


Neve  y Yebenes 

Le  Chanoine  D.  Justino  de  Neve  y Yebenes 


224 


Mallorca,  Marquesa  tie  la  Cenia 

„E1  JlicHo" 

Auf  Leinwand 

The  Jew 

1660-1682 

Le  Juif 

Murillo  15 


225 


Paris,  Trotti  Auf  Leinwand 

Der  Mann  mit  dcm  Schlapphut 

The  Man  with  the  soft  Hat  1660-1670  Portrait  d'Homme 


226 


* Paris,  Louvre 

Portrait  of  a Gentleman 


Auf  Leinwand,  Durchmesser  0,29 

Bildnis  eines  Edelmanns 

1660—1670  Portrait  de  Gentilhomme 


227 


* Nantes,  Museum 


Portrait  of  a Lady 


Auf  Leinwand 

Weibliches  Bildnis 

1660—1670  Portrait  d’une  Dame 


228 


Montreal,  Sir  W.  van  Horne 

Auf  I 

Bildnis  eines  Edelmanns 

Portrait  of  a Gentleman 

Gegen  1670 

Portrait  de  Gentilhomme 

229 


Budapest,  Museum 


Auf  Leinwand 


Portrait  of  a Man 


Bildnis  eines  Unbekannten 

1665—1675 


Portrait  d’Homme 


230 


* Philadelphia,  Sammlung  Johnson 


Portrait  of  a Lady 
(Dona  Juana  Eminente?) 


Damenportrat 
(Dona  Juana  Eminente?) 
1055—1675 


Auf  Leinwnnd 


Portrait  de  Femme 
(Dona  Juana  Eminente?) 


231 


* Sevilla,  Kathedrale  Auf  Leinwand 

Madre  Francisca  Dorotea  Villalda 

Mother  Francisca  Dorotea  Villalda  1674  Mere  Francisca  Dorotea  Villalda 


232 


ladrid,  Herzog  von  Alba  (Palacio  tie  L-lrla) 

D.  Gabriel  Esteban  Murillo 


233 


IV. 

ZWEIFELHAFTE  UND  ZU  UNRECHT  MURILLO 
ZUGESCHRIEBENE  GEMALDE 


DOUBTFUL  PAINTINGS  AND 
PAINTINGS  UNJUSTLY  ASCRIBED 
TO  MURILLO 


CEUVRES  DOUTEUSES 
OU  FAUSSEMENT  ATTRIBUES 
A MURILLO 


237 


*Cadiz,  Kapuzinerkirche  Auf  Leinwand 

Der  Erzengel  Michael  Der  Erzengel  Gabriel 

St.  Michael  Saint  Michel  St.  Gabriel  Saint  Gabriel 


238 


Cadiz,  Kapuzinerkirche  Auf  Leinwand  * Cadiz,  Kapuzinerkirche  Auf  Leinwand 

Der  heilige  Franziskus  Der  heilige  Joseph  mit  Christkind 

St.  Francis  Saint  Francois  St.  Joseph  with  the  Infant  Christ  Saint  Joseph  avec  l’Enfant  Jesus 


Cadiz,  Kapuzinerkirclie  Auf  Lcinwand 


Stigmatisation  des  heiligen  Franz 

St.  Francis  receiving  the  Stigmata  Saint  Francois  recevant  les  Stigmates 


239 


;:Munchen,  Alte  Pinakothek 


Auf  Leinwand 


Die  Hokerfrau 


The  Huckstress 


La  Revendeuse 


240 


*Friiher:  Paris,  Galerie  Aguado  Auf  Leinwand,  H.  0,4S,  B.  0,65 


Jakob  ringt  mit  dem  Engel 
Jacob  struggling  with  the  Angel 


Jacob  lutte  avec  l'Ange 


Friihcr:  Paris,  Galerie  Aguado 


Auf  Leinwand,  II.  1,0.1,  B.  1,59 


Jacob  and  Laban 


Jakob  und  Laban 


Jacob  et  Laban 


Murillo  16 


241 


* New  York,  Metropolitan-Museum 


Auf  Leinwand 


Der  Evangelist  Johannes  auf  Patmos 
St.  John  the  Evangelist  on  the  Island  of  Patmos 


Saint  Jean 


242 


243 


Engelstudien 

Studies  of  Angels  Heads  Etudes  d’Anges 


244 


* Madrid,  Prado  Auf  Leinwand,  H.  0,47,  B.  0,25  * Sevilla,  Museum  Auf  Leinwand,  H.  0,62,  B.  0,48 

Die  Erziehung  der  heiligen  Jungfrau  Die  „Concepcion“  aus  dem  Colegio  Maese  Rodrigo 

Education  of  the  Virgin  L’Education  de  la  Vierge  “Concepcion”  from  the  Colegio  L’Assomption  du  Colegio 

Maese  Rodrigo  Maese  Rodrigo 


* London,  Dorchester-House 


Immaculate  Conception 


Unbefleckte  Empfangnis 


Immaculee  Conception 


245 


* Aachen,  Stadt.  Suermondt-Museum 


Auf  Leinwand,  H.  I,a9,  b.  i,u» 


Madonna 


Madonna 


La  Vierge  et  l’Enfant 


246 


Genua,  Palazzo  Bianco 


Madonna 


Madonna 


Auf  Lelnwand 


La  Vierge  et  l’Enfant 


247 


248 


Madonna  mit  Christkind 

Madonna  with  the  Infant  Christ  La  Vierge  et  1 Enfant 


249 


Schlafender  Jesusknabe 


250 


Madrid,  Prado  Auf  Leinwand,  H.  0,63,  B.  0,88 

Das  Christkind  auf  dem  Kreuz  schlatend 

The  Infant  Christ  sleeping  on  the  Cross  J6sus  endormi  sur  la  Croix 


* Heytesbury-House,  Margaret  Lady  Heytesbury  Auf  Lelmvand 


The  good  Shepherd 


Der  gute  Hirte 


Le  bon  Pasteur 


London,  Herzog  von  Westminster 


Auf  Le inwand 


Der  Johannesknabe  mit  dem  Lamm 

The  Boy  Baptist  with  the  Lamb 


Saint  Jean  et  l'Agneau 


252 


* St.  Petersburg,  Ermitage  Auf  Loiinvaiul 

Der  jugendliche  Johannes  der  Taufer 

Young  St.  John  the  Baptist  Saint  Jean  Baptiste  Enfant 


253 


Glasgow,  Museum  Auf  Leinwand 

Die  Heilige  Familie  in  der  Zimmermannswerkstatt 
The  Holy  Family  in  the  Carpenter’s  Shop  La  Sainte  Familie  dans  l'Atelier 


254 


Paris,  Louvre 


Auf  Leimvand 


Christus  am  Olberg 


Christ  on  the  Mount  of  Olives 


Le  Christ  an  Mont  des  Oliviers 


255 


: Paris,  Louvre  Auf  Leinwand 

Der  reuige  Petrus  an  der  Martersaule  vor  Christus 

St.  Peter  before  Christ  at  the  Column  Le  Repentir  de  Saint  Pierre 


256 


■ New  York,  The  Ehrlch  Galleries 

Ecce  Homo 


Ecce  Homo 


Ecce  Homo 


Murillo  17 


257 


^Madrid,  Prado  Auf  Leinwand 

Der  heilige  Franz  von  Paula 

St.  Francis  of  Paula  Saint  Francois  de  Paule 


Turin,  Pinakothek 


Auf  Lei  invalid 


Sludie  zu  einem  Apostel 


Study  of  an  Apostle’s  Head 


Etude  d’Apotre 


259 


Madrid,  Prado 


Auf  Leinwand 


Der  heilige  Hieronymus 


St.  Jerome 


Saint  Jerome 


260 


Genua,  Palazzo  Bianco 


Der  heilige  Franzisluis 


Auf  I.elnwand 


St.  Francis 


Saint  Francois 


261 


Parma,  Pinakothek 


Auf  Leinwand 


Hiob 


Job 


262 


Madrid,  Prado 


St.  Mary  Magdalen 


Auf  Leinwand 

Die  biiBende  Magdalena 

Le  Repentir  de  Sainle  Madeleine 


Auf  Leinwand 


New  York,  The  Ehrich  Galleries 

Der  heilige  Stephanus 

St.  Stephen  Saint  Etienne 


264 


’ Budapest,  Museum 

Der  heilige  Joseph  mit  dem  Jesusknaben 
St.  Joseph  with  the  Christ-child  Saint  Joseph  et  l’Enfant  Jesus 


An!  I. ci invalid 


265 


Friiher:  Paris,  Charles  Sedelmayer 


St.  Mary  Magdalen 


Auf  Lein  wand 

Die  reuige  Magdalena 

Le  Repentir  de  Sainte  Madeleine 


266 


Munched,  A.  S.  Drcv 


Spielende  Kinder 


Playing  Children 


Enfants  jouant 


Chantilly,  Museum  Cond6  Auf  Leinwand,  H.  0,22,  B.  0,17 

Der  heilige  Joseph  mit  dem  Christkind 

St.  Joseph  with  the  Infant  Christ  Saint  Joseph  et  I'Enfant  Jesus 


267 


268 


Friiher:  Paris,  Galerie  Aguado  Auf  Lein  wand  Friiher:  Paris,  Galerie  Aguado  Auf  Leinwand 

Madchen  mit  Friichten  Junge  mit  Friichten 

Girl  with  Fruits  Jeune  Fille  aux  Fruits  Boy  with  Fruits  Jeune  Ganjon  aux  Fruits 


Turin,  Pinakothek 


Girl  in  Thought 


Auf  Leiuwand 

Madchcn  in  Gedankcn 

Jeune  P'ille  reflechissante 


269 


270 


Celestina  mit  ihrer  Tochter  im  Gefangnis 


Madrid,  Prado  Auf  Leinwand,  H.  0,56,  B.  0,38 

Der  heilige  Ferdinand 

St.  Ferdinand  Saint  Ferdinand 


271 


* Richmond,  Sammlung  Cook 

Angebliches  Selbstbildnis 

Selfportrait  of  the  Artist 


Auf  Leinwand 


Portrait  de  1' Artiste 


272 


* London,  Herzog  von  Wellington 


Selbstbildnis 


Auf  Lclmvand 


Portrait  of  the  Artist 


Portrait  de  1' Artiste 


Murillo  18 


273 


* Madrid,  Prado  Auf  Leinwand,  H.  0,76,  B.  0,62 

Pater  Cavanillas 

Father  Cavanillas  Dom  Cavanillas 


274 


Portratstudie 


*Haag,  Mauritshuis 

Study  for  a Portrait 


Etude  de  Portrait 


Auf  Lei nwaud 


275 


'j.SWrofe 


276 


Samrtiiung  D.  Pablo  Boscli,  Madrid  Au(  Leinwand  Montpellier,  Museum  Auf  Leiinvand 

Mannliches  Bildnis  Mannliches  Bildnis 

Portrait  of  a Man  Portrait  d’Homme  Portrait  of  a Man  Portrait  d’Homme 


Wien,  Galerie  Czernin 

Portrait  of  a Boy 


Auf  Leinwand 


Knabenbildnis 


Portrait  d'Enfanl 


277 


:i:  Budapest,  Museum  der  bildenden  Kiinste  Auf  Leinwand 

Portrat  eines  Malers 

Portrait  of  a Painter  Portrait  d’un  Peintre 


278 


Stuttgart,  Museum  tier  bildenden  Klinste 


Jiinglingsp°rtrat 


Auf  Leluwnnd 


Portrait  of  a Boy 


Portrait  de  jeune  Homme 


279 


GETTY  CENTER  LIBRARY  MAIN 

NO  813  M88  M35  8KS 

c.  1 Murillo,  Bartolome  E 

The  work  of  Murillo  reproduced  In  287  11 


3 3125  00249  3019 


